Winning Badminton Singles JAKE DOWNEY Photographs by Louis Ross Contents Preface, page ix Introduction, page xi Part One: The Game Chapter 1 Tactics and the principle of attack The Structure of the Making a framework for the stroke-moves Game Stage 1: The moves in the game – Stage 2: The principle of attack - Page 16 Stage 3: The situations - Stage 4: The logical structure of the game Chapter 2 Rearcourt situations The Framework Midcourt situations Page 27 Forecourt situations Chapter 3 The contents of the charts Comments on the Rearcourt situations Framework Midcourt situations Page 36 Forecourt situations The advantages of the framework Chapter 4 The complete framework Players in a The incomplete framework Framework Page The badly constructed framework 60 Part Two: Performance in the Game Chapter 5 What you must learn to play singles Performance in the Performance and standards Game The components of performance Page 66 1. Skill - 2. Fitness Chapter 6 Introduction Attitude in The appropriate attitude to the game Performance 1. The knock-up period - 2. The contest – Page 84 3. Attitude at the end of the contest Inappropriate attitudes: examples, cause, prevention, cure Attitude and the self-image Contents vi The pressure of expectations Discipline in performance Attitudes and experiences in training An approach to training Attitude in competition The exploitation of attitude Conclusion Part Three: Playing the Game Chapter 7 Learning the basic moves The Three Basic The opening move - the serve Moves Page 110 The basic moves played after the serve 1. The high serve - 2. The low serve Making effective stroke-moves Deception When to use deception Deception and anticipation Learning deception Percentage play 1. Hitting to the rearcourt - 2. Hitting to the forecourt - 3. Deep defence - 4. Taking the shuttle late in the forecourt - 5. Taking the shuttle late in the rearcourt Strategy, tactics, and styles of play 1. The strong player - 2. The runner - 3. The fast attacking player - 4. The touch player Chapter 8 Practice What is practice? Makes Perfect How much should you practise? What Page 131 can affect practice? How to devise a practice 1. Selection - 2. Construction Evaluation of a practice Performing under pressure in practice Practice and competition A positive approach to practice Practice and the coach Chapter 9 Progress Badminton notation in Performance The advantages of notation - The purpose of notation - Page 148 How can this information be used? - The symbols Recording Contents vii The recording sheet - Method 1 - Method 2 Analysis sheet Questionnaire 1.Serving - the opening move - 2. Receiving the serve - 3. Rearcourt stroke-moves 4. Midcourt stroke-moves - 5. Forecourt stroke-moves - 6. General questions - 7. Deception - 8. Fitness - 9. Type of player - 10. Anything else you can think of? Making use of the information gained about performance in the game 1. Profile of each opponent - 2. Practice - 3. Mental rehearsal - 4. On planning and play To the enquiring sportsperson Badminton is a game and games are a part of sport. The point of the game is to win. However, man created sport for his enjoyment and to enrich the quality of his life. It is fundamental, therefore, that it matters how we participate in sporting activities. In this respect the means matter more than the end. Thus the means of winning in badminton should not lessen the value of the game as a sport. Preface Since 1963 my involvement with badminton has been mainly as a teacher and a coach. During that time I have been fortunate to have experienced teaching the game to young players in schools and youth centres and to have seen the same players progress from beginners to a good standard of play at club and county level. In recent years my work has been mainly with international players. The experience of working with the same player for a number of years, whether that player is a youngster in school or a world class competitor, is invaluable for any coach, for it takes time to experiment in the game and try out new ideas in practice. Not surprisingly, as you learn more about the game you acquire more knowledge to transmit to the players. It is always a problem to decide how to start and progress, and what to include or leave out. Consequently, much time is spent on preparation in an attempt to strip the game down to its bare essentials and then put them into some sort of meaningful order. When this has been done it becomes possible to show how the different parts of the game are connected and to explain clearly why a player should do one thing rather than another. In brief, it becomes possible to theorise about the game. Since the true test of any theory is to try it out in the actual situation one moves constantly to and fro between theory and practice. Practice entails a pragmatic approach to theory: if it works, use it. I doubt if anyone ever reaches a position in badminton where they can stop and decide that there is nothing more to be said about the theory of the game. It is a dynamic game and change is built into-it. There will always be new ideas and theories which develop out of the practical situation. However, it is possible to establish a framework in which theory and practice can develop together. The framework outlined in this book provides a basis for such development. Furthermore, it has been well tested and works successfully in the practical situation. This book is primarily a practical book; detailed explanations are provided to help any player to improve his performance in the game. It is divided into three parts to make it easier to follow. Because it describes a new approach to badminton, it is important to read the book right through before using it as a reference work to be consulted when advice and information on specific problems are required. Preface x I should like to acknowledge my debt to the many players who have helped me to develop my ideas in the practical situation. The players in the national squads I have worked with since 1970 have co-operated willingly in my experiments on various aspects of the game, both in practice and competition. My especial thanks go to several players who worked closely with me for a number of years during this period - Margaret Lockwood, Gillian Gilks, Paul Whetnall, Ray Stevens and Andy Goode. For a player to work with a coach who continually experiments with new ideas and new ways to improve performance is very demanding and risky for the player. It requires a love of, and genuine interest in, the game; in this situation critical thinking and comments from the players in the evaluation of ideas in practice and competition are vital. Often the value of an idea is not immediately apparent and the player must possess confidence and determination to persevere. These qualities in the players I have worked with have made this book possible. The players were the testers of the theory underlying their practice. And fortunately, in practice all were very successful. My particular thanks go to Paul Whetnall, who has continually helped me to develop new ideas and try them out and modify them on the practice court prior to completion. In addition, his comments and constant encouragement to complete the work have finally led to the publication of this book. Introduction Imagine the singles player in action. The athlete leaping backwards through space to twist and smash the shuttle away from the opponent. Then landing, sinking lightly, before explosively powering forwards to cover the reply. The kill from the net as he leaps, lunging high, to swoop down on the `bird' and lash it to the ground. Or, with smooth backward flowing steps, pausing to threaten, holding the opponent still before hitting the gentle dropshot. Now hanging back, inviting the net reply, then gliding into the forecourt to tumble the shuttle tightly over the net. This is Man not machine, with more to his movement than mere action. There is the underlying purpose. For the body, athletically trained to the highest pitch, serves only to give expression to thought. The movement, so necessary to hit the shuttle, climaxes with strokes used as tactical moves designed to outwit the opponent and gain victory. Through the action we gauge the measure of intelligence, imagination and creative ability. With insight into the tactics of the game we look beyond the action and enjoy the contest between two intelligences, the battle of minds. Though never forgetting nor failing to appreciate the athleticism and the beauty of the movement, we move on to a deeper level of understanding and appreciation. There is more, for the battle is decided over the duration of time, and thought and skill are only part of the struggle. Can the effort be sustained and fought through with quality until the end result, success or failure, is realised? Can thought be focused singlemindedly on the task in hand, persevering with purpose regardless of the struggle's ebb and flow? Is it possible to ignore the pain of tired body, dismiss the doubts raised by the relentless probing of weaknesses and the negation of strengths, in order to seize opportunities and create victory? Thus we become absorbed with the human element and live with the player, his doubts and fears, his excitement and endeavour. In him Man becomes exposed. The harder the struggle the more we see Man as he is. The expression of his attitude gives colour to his character. Is this the adventurous spirit roaming free to seize its chance or is it tentative caution? Do we see fierce determination, concentration and strength of will glowing forth in the quest, or subdued spirit which succumbs Xii Introduction to human frailty? Whatever it is we identify with the players, and recognising what we see in them, we experience ourselves through them.